Avid Pro Tools AI 7 User manual

Operation Manual

Cristina Bachmann, Heiko Bischoff, Marion Bröer, Christina Kaboth, Insa Mingers, Sabine Pfeifer,

Benjamin Schütte

This PDF provides improved access for vision-impaired users. Please note that due to the complexity

and number of images in this document, it is not possible to include text descriptions of images.

The information in this document is subject to change without notice and does not represent a

commitment on the part of Steinberg Media Technologies GmbH. The software described by this

document is subject to a License Agreement and may not be copied to other media except as

specifically allowed in the License Agreement. No part of this publication may be copied, reproduced,

or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg

Media Technologies GmbH. Registered licensees of the product described herein may print one

copy of this document for their personal use.

All product and company names are ™ or ® trademarks of their respective owners. For more

information, please visit www.steinberg.net/trademarks.

Release Date: May 08, 2013

3

Table of Contents

6 Introduction

6 About the Program Versions

6 Key Command Conventions

7 Setting up your system

7 Setting up audio

14 Setting up MIDI

16 Connecting a synchronizer

16 Setting up video

16 Optimizing audio performance

19 The VST Performance Window

20 The ASIO-Guard Option

21 VST Connections

21 About this chapter

21 The VST Connections window

21 Setting up busses

24 Routing

25 About monitoring

25 Editing operations

28 The Project window

28 Window Overview

30 The track list

31 The Inspector

34 The toolbar

35 The status line

36 The info line

37 The overview line

37 The ruler

39 The Snap function

41 Auto-Scroll

43 Working with projects

43 Creating new projects

45 Opening projects

46 Closing projects

46 Saving projects

48 The Archive and Backup functions

51 The Project Setup dialog

53 Zoom and view options

58 Audio handling

58 Auditioning audio parts and events

59 Scrubbing

59 Editing parts and events

68 Range editing

71 Region operations

72 The Edit History dialog

73 The Preferences dialog

75 Working with tracks

75 Setting up tracks

78 Editing tracks

80 Organizing tracks in folder tracks

82 Dividing the track list

83 Playback and the Transport panel

83 Background

84 Operations

88 Options and Settings

90 The Virtual Keyboard

92 Recording

92 Background

92 Basic recording methods

95 Audio recording specifics

102 MIDI recording specifics

108 Options and Settings

112 Quantizing MIDI and Audio

112 Introduction

112 Quantizing Audio Event Starts

112 Quantizing MIDI Event Starts

113 Quantizing MIDI Event Lengths

113 Quantizing MIDI Event Ends

113 The Quantize Panel

117 Additional Quantizing Functions

4

118 Fades and crossfades

118 Creating fades

120 The Fade dialogs

122 Creating crossfades

123 The Crossfade dialog

124 Auto fades and crossfades

126 The arranger track

(Cubase Elements only)

126 Introduction

126 Setting up the arranger track

128 Working with arranger events

131 Flattening the arranger chain

133 Live mode

134 Arranging your music to video

135 Using markers

135 Introduction

136 The Marker window

139 The marker track

141 Exporting and importing markers

142 The MixConsole

142 Overview

144 Configuring the MixConsole

147 Keyboard Navigation in the MixConsole

149 Working with the Fader Section

153 Working with the Channel Racks

163 Using Channel Settings

166 Resetting MixConsole Channels

166 Adding Pictures

167 Adding Notes to a MixConsole Channel

168 Audio effects

168 Overview

169 Insert effects

174 Send effects

178 Editing effects

179 Effect presets

182 Installing and managing effect plug-ins

186 VST instruments and instrument

tracks

186 Introduction

186 VST instrument channels vs. instrument

tracks

186 VST instrument channels (not in Cubase

LE)

189 Instrument tracks

192 What do I need? Instrument channel or

instrument track?

192 Instrument Freeze

194 VST instruments and processor load

194 Using presets for VSTi configuration

198 About latency

200 Automation

200 Introduction

201 Working with automation curves

201 Enabling and disabling the writing of

automation data

202 Writing automation data

204 Editing automation events

206 Automation track operations

209 MIDI part data vs. track automation

210 Hints and further options

211 Audio processing and functions

211 Background

211 Audio processing

219 Freeze Edits

220 Detect Silence

222 The Spectrum Analyzer

224 Statistics

225 About time stretch algorithms

226 The Sample Editor

226 Window overview

231 General functions

238 Warping audio

239 Working with hitpoints and slices

245 The Audio Part Editor

245 Background

245 Window overview

246 Opening the Audio Part Editor

247 Operations

249 Options and Settings

250 The Pool

250 Background

251 Window overview

254 Operations

266 The MediaBay

266 Introduction

267 Working with the MediaBay

268 The Define Locations section

270 The Locations section

271 The Results list

275 Previewing files

277 The Filters section

280 The Loop Browser and Sound Browser

windows

280 Preferences

281 Key commands

282 Working with MediaBay-related windows

284 Working with Volume databases

287 Working with track presets

287 Introduction

287 Types of track presets

289 Applying track presets

291 Creating a track preset

292 Creating tracks from track presets or VST

presets

5

294 Remote controlling Cubase

294 Introduction

294 Setting Up

296 Operations

297 The Generic Remote device

301 The Remote Control Editor (Cubase

Elements only)

307 Apple Remote (Macintosh only)

308 MIDI realtime parameters

308 Introduction

308 The Inspector – general handling

309 The Inspector sections

314 Using MIDI devices

314 Background

314 MIDI devices – general settings and patch

handling

320 MIDI processing

320 Introduction

322 Making your settings permanent

323 Dissolve Part

324 Repeat Loop

325 Other MIDI functions

329 The MIDI editors

329 Introduction

330 Opening a MIDI editor

331 The Key Editor – Overview

335 Key Editor operations

357 The Drum Editor – Overview

359 Drum Editor operations

361 Working with drum maps

365 Using drum name lists

365 Working with SysEx messages

367 Recording SysEx parameter changes

367 Editing SysEx messages

368 The Score Editor – Overview

370 Score Editor operations

380 Working with the Chord Functions

380 Introduction

380 The Chord Track

383 The Chord Track Inspector Section

387 The Chord Editor

388 Creating a Chord Progression from

Scratch (Chords to MIDI)

389 Extracting Chords from MIDI (Make

Chords)

390 Controlling MIDI Playback with the Chord

Track (Follow Chords)

391 Editing tempo and signature

391 Background

391 Tempo and signature display

393 Editing tempo and signature

395 The Beat Calculator

397 Adjusting the audio to the project tempo

398 Export Audio Mixdown

398 Introduction

398 Mixing down to audio files

400 The Export Audio Mixdown dialog

402 The available file formats

408 Synchronization

408 Background

408 Timecode (positional references)

410 Clock sources (speed references)

411 The Project Synchronization Setup dialog

413 Synchronized operation

414 Working with VST System Link

417 Activating VST System Link

424 Video

424 Before you start

426 Preparing a video project in Cubase

428 Video files in the Project window

429 Playing back video

431 Editing video

432 Extracting audio from a video file

432 Replacing the audio in a video file

433 ReWire (not in Cubase LE)

433 Introduction

433 Launching and quitting

434 Activating ReWire channels

435 Using the transport and tempo controls

435 How the ReWire channels are handled in

Cubase

436 Routing MIDI via ReWire2

436 Considerations and limitations

437 File handling

437 Importing audio

442 Exporting and importing standard MIDI

files

445 Exporting and importing MIDI loops

446 Customizing

446 Background

446 Using the Setup options

448 Customizing track controls

451 Appearance

453 Applying colors in the Project window

456 Where are the settings stored?

458 Key commands

458 Introduction

459 Setting up key commands

462 Setting up tool modifier keys

463 The default key commands

469 Index

6

Introduction

About the Program Versions

The documentation covers two different operating systems or “platforms”, Windows

and Mac OS X. Some features and settings are specific to one of the platforms.

This is clearly stated in the applicable cases. If nothing else is said, all descriptions

and procedures in the documentation are valid for both Windows and Mac OS X.

The screenshots are taken from the Windows version of Cubase.

Key Command Conventions

Many of the default key commands in Cubase use modifier keys, some of which are

different depending on the operating system. For example, the default key command

for Undo is [Ctrl]-[Z] on Windows and [Command]-[Z] on Mac OS X systems.

When key commands with modifier keys are described in this manual, they are shown

with the Windows modifier key first, in the following way:

[Win modifier key]/[Mac modifier key]-[key]

For example, [Ctrl]/[Command]-[Z] means “press [Ctrl] on Windows or [Command]

on Mac OS X systems, then press [Z]”.

Similarly, [Alt]/[Option]-[X] means “press [Alt] on Windows or [Option] on Mac OS X

systems, then press [X]”.

Ö This manual often refers to right-clicking, for example, to open context menus. If you

are using a Mac with a single-button mouse, hold down [Ctrl] and click.

7

Setting up your system

Setting up audio

Connecting audio

Exactly how to set up your system depends on many different factors, e. g. the kind of

project you wish to create, the external equipment you want to use, or the computer

hardware available to you. Therefore, the following sections can only serve as examples.

How you connect your equipment, i. e. whether you use digital or analog connections,

also depends on your individual setup.

Stereo input and output – the simplest connection

If you only use a stereo input and output from Cubase, you can connect your audio

hardware, e.

g. the inputs of your audio card or your audio interface, directly to the

input source and the outputs to a power amplifier and speaker.

Simple stereo

audio setup

This is probably the simplest of all setups – once you have set up the internal input

and output busses, you can connect your audio source, e.

g. a microphone, to your

audio interface and start recording.

!

Make sure that all equipment is turned off before making any connections!

8

Setting up your system

Setting up audio

Multi-channel input and output

Most likely however, you will have other audio equipment that you want to integrate

with Cubase, using several input and output channels. Depending on the equipment

available to you, there are two ways to go: either mixing using an external mixing desk,

or mixing using the MixConsole inside Cubase.

• External mixing means having a hardware mixing device with a group or bus system

that can be used for feeding inputs on your audio hardware.

In the example below, four busses are used for feeding signals to the audio

hardware’s inputs. The four outputs are connected back to the mixer for monitoring

and playback. Remaining mixer inputs can be used for connecting audio sources

like microphones, instruments, etc.

Multi-channel

audio setup

using an

external mixer

Ö When connecting an input source (like a mixer) to the audio hardware, you should use

output busses, sends or similar that are separate from the mixer’s master output, to

avoid recording what you are playing back. You may also have mixing hardware that

can be connected via FireWire.

• When using the MixConsole inside Cubase, you can use the inputs on your audio

hardware to connect microphones and/or external devices. Use the outputs to

connect your monitoring equipment.

Mixing inside

Cubase

Cubase supports a number of surround formats.

Recording from a CD player

Most computers come with a CD-ROM drive that can also be used as a regular CD

player. In some cases the CD player is internally connected to the audio hardware so

that you can record the output of the CD player directly into Cubase (consult the

audio hardware documentation if you are uncertain).

• All routing and level adjustments for recording from a CD (if available) are done in

the audio hardware setup application (see below).

9

Setting up your system

Setting up audio

• Cubase Elements only: You can also grab audio tracks directly from a CD in

Cubase (see the chapter

“File handling” on page 437).

Word clock connections

If you are using a digital audio connection, you may also need a word clock

connection between the audio hardware and external devices. Please refer to the

documentation that came with the audio hardware for details.

About recording levels and inputs

When you connect your equipment, you should make sure that the impedance and

levels of the audio sources and inputs are matched. Typically, different inputs may be

designed for use with microphones, consumer line level (-10

dBV) or professional line

level (+4

dBV), or you may be able to adjust input characteristics on the audio

interface or in its control panel. Please check the audio hardware documentation for

details.

Using the correct types of input is important to avoid distortion or noisy recordings.

Making settings for the audio hardware

Most audio cards come with one or more small applications that allow you to

configure the inputs of the hardware to your liking. This includes:

- Selecting which inputs/outputs are active.

- Setting up word clock synchronization (if available).

- Turning monitoring via the hardware on/off (see “About monitoring” on page 13).

- Setting levels for each input. This is very important!

- Setting levels for the outputs, so that they match the equipment you use for

monitoring.

- Selecting digital input and output formats.

- Making settings for the audio buffers.

In many cases all available settings for the audio hardware are gathered in a control

panel, which can be opened from within Cubase as described below (or opened

separately, when Cubase isn’t running). In some cases, there may be several different

applications and panels – please refer to the audio hardware documentation for details.

Plug and Play support for ASIO devices

The Steinberg UR824 hardware series supports Plug and Play in Cubase. These

devices can be plugged in and switched on while the application is running. Cubase

will automatically use the driver of the UR824 series and will re-map the VST

connections accordingly.

Steinberg cannot guarantee that this will work with other hardware. If you are unsure

of whether your device supports plug and play, please consult its documentation.

!

It is very important that word clock synchronization is set up correctly, or you may

experience clicks and crackles in your recordings.

!

Cubase does not provide any input level adjustments for the signals coming in to your

audio hardware, since these are handled differently for each card. Adjusting input

levels is either done in a special application included with the hardware or from its

control panel (see below).

!

If a device that does not support Plug and Play is connected/disconnected while the

computer is running, it may get damaged.

10

Setting up your system

Setting up audio

Selecting a driver and making audio settings in Cubase

The first thing you need to do is select the correct driver in Cubase to make sure that

the program can communicate with the audio hardware:

1. Launch Cubase and select Device Setup from the Devices menu.

2. In the Devices list to the left, click on “VST Audio System”.

The VST Audio System page is shown.

3. On the ASIO Driver menu, select your audio hardware driver.

There may be several options here that all refer to the same audio hardware. When

you have selected a driver, it is added to the Devices list.

4. Select the driver in the Devices list to open the driver settings for your audio

hardware.

5. Bring up the control panel for the audio hardware and adjust the settings as

recommended by the audio hardware manufacturer.

• Under Windows, you open the control panel by clicking the Control Panel button.

The control panel that opens when you click this button is provided by the audio

hardware manufacturer – not Cubase (unless you use DirectX, see below). Hence

it will be different for each audio card brand and model.

The control panels for the ASIO DirectX driver and the Generic Low Latency ASIO

Driver (Windows only) are exceptions, in that they are provided by Steinberg and

described in the dialog help, opened by clicking the Help button in the dialog. See

also the notes on DirectX below.

• Under Mac OS X, the control panel for your audio hardware is opened by clicking

the “Open Config App” button on the settings page for your audio device in the

Device Setup dialog.

Note that this button is available only for some hardware products. If “Open Config

App” is not available in your setup, refer to the documentation that came with your

audio hardware for information on where to make hardware settings.

!

Under Windows, we strongly recommend that you access your hardware via an ASIO

driver written specifically for the hardware. If no ASIO driver is installed, we recommend

that you check with your audio hardware manufacturer if they have an ASIO driver

available, for example, for download via the Internet. You can use the Generic Low

Latency ASIO driver if no specific ASIO driver is available.

11

Setting up your system

Setting up audio

6. If you plan to use several audio applications simultaneously, you may want to

activate the “Release Driver when Application is in Background” option on the VST

Audio System page. This will allow another application to play back via your audio

hardware even though Cubase is running.

The application that is currently active (i. e. the “top window” on the desktop) gets

access to the audio hardware. Make sure that any other audio application

accessing the audio hardware is also set to release the ASIO (or Mac OS X) driver

so Cubase can use it when it becomes the active application again.

7. If your audio hardware receives clock signals from an external sample clock

source, you may want to activate the “Externally Clocked” option on the page for

the driver.

This is described in detail in the section “If your hardware setup is based on an

external clock source” on page 11.

8. If your audio hardware and its driver support ASIO Direct Monitoring, you may

want to activate the Direct Monitoring checkbox on the page for the driver.

Read more about monitoring later in this chapter and in the chapter “Recording”

on page 92.

9. Click Apply and then OK to close the dialog.

If your hardware setup is based on an external clock source

For proper audio playback and recording, it is essential that you set the project’s

sample rate to the sample rate of the incoming clock signals. If you load a project with

a sample rate that is different from your clock source, the program will try to change

the settings of the clock source, which may not be what you want.

By activating the “Externally Clocked” option, you “tell” Cubase that it receives

external clock signals and therefore derives its speed from that source. The program

will not try to change the hardware sample rate any longer. The sample rate mismatch

is accepted and playback will therefore be faster or slower. For more information

about the Sample Rate setting, see

“The Project Setup dialog” on page 51.

Ö When a sample rate mismatch occurs, the Record Format field on the status line is

highlighted in a different color.

If you are using audio hardware with a DirectX driver (Windows only)

Cubase comes with a driver called ASIO DirectX Full Duplex, available for selection

on the ASIO Driver pop-up menu (VST Audio System page).

Ö To take advantage of DirectX Full Duplex, the audio hardware must support WDM

(Windows Driver Model).

When the ASIO DirectX Full Duplex driver is selected in the Device Setup dialog, you

can open the ASIO Control Panel and adjust the following settings (for more details,

click the Help button in the control panel):

• Direct Sound Output and Input Ports

In the list on the left in the window, all available Direct Sound output and input

ports are listed. In many cases, there will be only one port in each list. To activate

or deactivate a port in the list, click the checkbox in the left column. If the checkbox

is ticked, the port is activated.

!

A DirectX driver is the next best option to a specific ASIO driver and the Generic Low

Latency ASIO driver.

12

Setting up your system

Setting up audio

• You can edit the Buffer Size and Offset settings in this list if necessary, by double-

clicking on the value and typing in a new value.

In most cases, the default settings will work fine. Audio buffers are used when audio

data is transferred between Cubase and the audio card. While larger buffers ensure

that playback will occur without glitches, the latency (the time between the moment

Cubase sends out the data and when it actually reaches the output) will be higher.

• Offset

If a constant offset is audible during playback of Audio and MIDI recordings, you

can adjust the output or input latency time using this value.

Setting up the input and output ports

Once you have selected the driver and made the settings as described above, you

need to specify which inputs and outputs will be used and name these:

1. In the Device Setup dialog, select your driver in the Devices list on the left to

display the driver settings for your audio hardware.

All input and output ports on the audio hardware are listed.

2. To hide a port, click in the “Visible” column for the port (deselecting the checkbox).

Ports that are not visible cannot be selected in the VST Connections window

where you set up your input and output busses – see the chapter

“VST

Connections” on page 21.

3. To rename a port, click on its name in the “Show as” column and type in a new

name.

• It is a good idea to give your ports names that are related to the channel

configuration (rather than to the actual hardware model)!

4. Click OK to close the Device Setup dialog and apply your changes.

!

If you attempt to hide a port that is already used by a bus you will be asked whether

this is really what you want – note that this will disable the port!

13

Setting up your system

Setting up audio

About monitoring

In Cubase, monitoring means listening to the input signal while preparing to record or

while recording. There are three ways to monitor:

External monitoring

External monitoring (listening to the input signal before it goes into Cubase) requires

an external mixer for mixing the audio playback with the input signal. This can be a

classic mixing desk or a mixer application for your audio hardware, if this has a mode

in which the input audio is sent back out again (usually called “Thru”, “Direct Thru” or

similar).

Via Cubase

In this case, the audio passes from the input into Cubase, possibly through Cubase

effects and EQ and then back to the output. You control monitoring via settings in

Cubase.

This allows you to control the monitoring level from Cubase and add effects to the

monitored signal only.

ASIO Direct Monitoring

If your audio hardware is ASIO 2.0 compatible, it may support ASIO Direct Monitoring

(this feature may also be available for audio hardware with Mac OS X drivers). In this

mode, the actual monitoring is done in the audio hardware, by sending the input signal

back out again. However, monitoring is controlled from Cubase. This means that the

audio hardware’s direct monitoring feature can be turned on or off automatically by

Cubase.

Monitoring is described in detail in the chapter “Recording” on page 92. However,

when setting up, there is one thing to note:

• If you want to use the external monitoring via your audio hardware, make sure that

the corresponding functions are activated in the card’s mixer application.

Ö If you are using RME Audio Hammerfall DSP audio hardware, make sure that the pan

law is set to -3

dB in the card’s preferences.

14

Setting up your system

Setting up MIDI

This section describes how to connect and set up MIDI equipment. If you have no

MIDI equipment, you can skip this section. Note that this is only an example – you

might need or want to hook things up differently!

Connecting the MIDI equipment

In this example we assume that you have a MIDI keyboard and an external MIDI sound

module. The keyboard is used both for feeding the computer with MIDI messages for

recording and for playing back MIDI tracks. The sound module is used for playback

only. Using Cubase’s MIDI Thru feature (described later) you will be able to hear the

correct sound from the sound module while playing the keyboard or recording.

A typical MIDI

Setup

If you want to use even more instruments for playback, simply connect MIDI Thru on

the sound module to MIDI In on the next instrument, and so on. In this hook-up, you

will always play the first keyboard when recording. But you can still use all your

devices for providing sounds on playback.

!

Make sure that all equipment is turned off before making any connections!

!

If you plan to use more than three sound sources, we recommend that you either use

an interface with more than one output, or a separate MIDI Thru box instead of the

Thru jacks on each unit.

15

Setting up your system

Setting up MIDI

Setting MIDI Thru and Local On/Off

On the MIDI page in the Preferences dialog (located on the File menu under Windows

and on the Cubase menu under Mac OS X), you will find a setting called “MIDI Thru

Active”. This is related to a setting in your instrument called “Local On/Off” or “Local

Control On/Off”.

- If you use a MIDI keyboard instrument, as described earlier in this chapter, MIDI Thru

should be activated and that instrument should be set to Local Off (sometimes

called Local Control Off – see the instrument’s operation manual for details). The

MIDI signal from the keyboard will be recorded in Cubase and at the same time be

re-routed back to the instrument so that you hear what you are playing, without the

keyboard “triggering” its own sounds.

- If you use a separate MIDI keyboard – one that does not produce any sounds

itself

– MIDI Thru in Cubase should also be activated, but you don’t need to look

for any Local On/Off setting in your instruments.

- The only case where MIDI Thru should be deactivated is if you use Cubase with

only one keyboard instrument and that instrument cannot be set to Local Off

mode.

- MIDI Thru will be active only for MIDI tracks that are record enabled and/or have

the Monitor button activated. See the chapter

“Recording” on page 92 for more

information.

Setting up MIDI ports in Cubase

The Device Setup dialog lets you set up your MIDI system as follows:

Ö When you change MIDI port settings in the Device Setup dialog, these are

automatically applied.

Showing or hiding MIDI Ports

The MIDI ports are listed in the Device Setup dialog on the MIDI Port Setup page. By

clicking in the “Visible” column for a MIDI input or output, you can specify whether or

not it is listed on the MIDI pop-up menus in the program.

If you are trying to hide a MIDI port which is already selected for a track or a MIDI

device, a warning message will appear, allowing you to hide – and disconnect – the

port or to cancel the operation and keep the MIDI port visible.

When “MIDI Thru” is active in Cubase, MIDI

data received is immediately “echoed” back out.

When you press a key, it is sent out via MIDI to

Cubase.

MIDI data coming in to the instrument is

played by the “Synth” inside it.

When Local Control is turned on in the instru-

ment, the keys you press will be played by the

“Synth” inside the instrument. When Local

Control is turned off, this connection is cut off.

“Synth”

16

Setting up your system

Connecting a synchronizer

Setting up the “All MIDI Inputs” option

When you record MIDI in Cubase, you can specify which MIDI input each recording

MIDI track should use. However, you can also select the “In ‘All MIDI Inputs’” option

for an input port, which causes any MIDI data from any MIDI input to be recorded.

The “In ‘All MIDI Inputs’” option on the MIDI Port Setup page allows you to specify

which inputs are included when you select All MIDI Inputs for a MIDI track. This can be

especially useful if your system provides several instances of the same physical MIDI

input – by deactivating the duplicates you make sure only the desired MIDI data is

recorded.

Ö If you have a MIDI remote control unit connected, you should also make sure to

deactivate the “In ‘All MIDI Inputs’” option for that MIDI input. This will avoid

accidentally recording the data from the remote control when the “All MIDI Inputs”

option is selected as input for a MIDI track.

Connecting a synchronizer

When using Cubase with external tape transports, you will most likely need to add a

synchronizer to your system. All connections and setup procedures for synchronization

are described in the chapter

“Synchronization” on page 408.

Setting up video

Cubase plays back video files in a number of formats, such as AVI, QuickTime, or

MPEG. QuickTime is used as playback engine. Which formats can be played back

depends on the video codecs installed on your system, see the chapter

“Video” on

page 424.

There are several ways to play back video, e. g. without any special hardware, using a

FireWire port, or using dedicated video cards, see

“Video output devices” on page 425.

If you plan to use special video hardware, install it and set it up as recommended by

the manufacturer.

Before you use the video hardware with Cubase, we recommend that you test the

hardware installation with the utility applications that came with the hardware and/or

the QuickTime Player application.

Optimizing audio performance

This section gives you some hints and tips on how to get the most out of your Cubase

system, performance-wise. Some of this text refers to hardware properties and can be

used as a guide when upgrading your system. This text is very brief. Look for details

and current information on the Cubase web site.

Two aspects of performance

There are two distinct aspects of performance with respect to Cubase.

Tracks and effects

Simply put: the faster your computer, the more tracks, effects and EQ you will be able

to play. Exactly what constitutes a “fast computer” is almost a science in itself, but

some hints are given below.

!

Make sure that all equipment is turned off before making any connections!

17

Setting up your system

Optimizing audio performance

Short response times (latency)

Another aspect of performance is response time. The term “latency” refers to the

“buffering”, i.

e. the temporary storing, of small chunks of audio data during various

steps of the recording and playback process on a computer. The more and larger

those chunks, the higher the latency.

High latency is most irritating when playing VST instruments and when monitoring

through the computer, i.

e. when listening to a live audio source via the Cubase

MixConsole and effects. However, very long latency times (several hundred

milliseconds) can also affect other processes like mixing, e.

g. when the effect of a

fader movement is heard only after a noticeable delay.

While Direct Monitoring and other techniques reduce the problems associated with

very long latency times, a system that responds fast will always be more convenient to

work with.

• Depending on your audio hardware, it may be possible to “trim” your latency times,

usually by lowering the size and the number of buffers.

For details, refer to the audio hardware documentation, or, if you are using a

DirectX driver under Windows, the dialog help.

System factors that affect performance

RAM

Generally speaking, the more RAM is installed in your computer, the better.

This limitation is imposed by the operating system, and it is independent of the amount

of RAM that you may have installed in your computer.

Some program functions may “eat up” all the available memory, e. g. recording, the

use of effect plug-ins, and the pre-loading of samples.

Always keep in mind the RAM limitation of your operating system when setting up your

projects.

CPU and processor cache

It goes without saying that the faster the computer processor, the better. But there are

a number of factors that affect the apparent speed of a computer: the bus speed and

type (PCI is strongly recommended), the processor cache size and of course, the

processor type and brand. Cubase relies heavily on floating point calculations. When

shopping for a processor, please make sure that you get one that is powerful in

calculating floating point arithmetics.

Note also that Cubase features full support for multi-processor systems. So, if you

own a computer system with more than one processor, Cubase can take advantage of

the total capacity and evenly distribute the processing load to all available processors.

For further information, see

“Multi processing” on page 18.

!

On computers running a Windows 32-bit operating system, a running application can

address a maximum of 2

GB of RAM. On a Macintosh computer running Mac OS X,

this limit is 4

GB.The 64-bit versions of Windows and Mac OS X are able to assign

considerably more than 4

GB of RAM to a running 64-bit application.

!

When a function has used up all the memory made available by the operating system,

the computer will crash.

18

Setting up your system

Optimizing audio performance

Hard disk and controller

The number of hard disk tracks you can record and play back at the same time also

depends on the speed of your hard disk and hard disk controller. If you use E-IDE

disks and controllers, make sure that the transfer mode is DMA Busmaster. Under

Windows, you can check the current mode by launching the Windows Device

Manager and looking for properties of the IDE ATA/ATAPI Controller’s primary and

secondary channel. DMA transfer mode is enabled by default, but may be turned off

by the system should hardware problems occur.

Audio hardware and driver

The hardware and its driver can have some effect on regular performance. A badly

written driver can reduce the performance of your computer. But where the hardware

driver design makes the most difference is with latency.

This is especially true when using Cubase for Windows:

• Under Windows, ASIO drivers written specifically for the hardware are more

efficient than the Generic Low Latency ASIO Driver or a DirectX driver and

produce shorter latency times.

• Under Mac OS X, audio hardware with properly written Mac OS X (Core Audio)

drivers can be very efficient and produce very low latency times.

However, there are additional features currently only available with ASIO drivers,

such as the ASIO Positioning Protocol.

Making settings that affect performance

Audio buffer settings

Audio buffers affect how audio is sent to and from the audio hardware. The size of the

audio buffers affects both the latency and the audio performance. Generally, the

smaller the buffer size, the lower the latency. On the other hand, working with small

buffers can be demanding for the computer. If the audio buffers are too small, you may

get clicks, pops or other audio playback problems.

• Under Mac OS X, you can adjust the size of the buffers on the VST Audio System

page in the Device Setup dialog.

You may also find buffer settings in the control panel for the audio hardware.

• Under Windows, you adjust the buffer size settings in the control panel for the

audio hardware (opened by clicking the Control Panel button on the driver page in

the Device Setup dialog).

Multi processing

On the VST Audio System page you will find the “Advanced options” section. Here

you find advanced settings for the VST Engine, including a Multi Processing option.

When this is activated and there is more than one CPU in your system, the processing

load is distributed evenly to all available CPUs, allowing Cubase to make full use of

the combined power of the multiple processors.

!

Again, we strongly recommend that you use audio hardware for which there is a

specific ASIO driver!

19

Setting up your system

The VST Performance Window

The VST Performance window shows the audio processing load and the hard disk

transfer rate. This allows you to verify that you do not run into performance problems

when adding effects or plug-ins, for example.

• To open the VST Performance window, open the Devices menu and select “VST

Performance”.

• The “Average Load” indicator shows how much of the available CPU power is

used for audio processing.

• The “Real-time Peak” indicator shows the processing load in the realtime path of

the audio engine.

The higher this value, the higher the risk that drop outs might occur.

• The Overload indicator to the right indicates overloads of the average or real-time

indicator.

If it lights up, try decreasing the number of EQ modules, active effects, and audio

channels that play back simultaneously. You can also activate the ASIO-Guard,

see

“The ASIO-Guard Option” on page 20.

• The disk indicator shows the hard disk transfer load.

• The overload indicator to the right of the disk indicator lights up, if the hard disk

does not supply data fast enough.

Try using the Disable Track function to reduce the number of tracks playing back.

If this does not help, you need a faster hard disk.

Ö You can show a simple view of the performance meter on the Transport panel and on

the Project window toolbar. These meters only feature the average and the disk

indicator.

20

Setting up your system

The ASIO-Guard Option

The ASIO-Guard option in the VST Audio System page of the Device Setup dialog

allows you to shift as much processing as possible from the ASIO realtime path to the

ASIO-Guard processing path. This results in a more stable system.

The ASIO-Guard allows you to preprocess all audio channels that do not need to be

calculated in realtime. This leads to less drop-outs, the ability to process more tracks

or plug-ins, and the ability to use smaller buffer sizes.

To activate ASIO-Guard, proceed as follows:

1. Open the Devices menu, and select “Device Setup…”.

2. Open the VST Audio System page and activate the ASIO-Guard option.

This is only available if the Multi Processing option is activated, see “Multi

processing” on page 18.

Restrictions

Only the audio channels with their plug-ins as well as VST instruments support the

ASIO-Guard technology. To get an overview of the plug-ins that support it, open the

Devices menu and select “Plug-in Information” to open the Plug-in Information window.

To activate or deactivate the processing of a plug-in in the ASIO-Guard path, check or

uncheck it in the ASIO-Guard column.

The ASIO-Guard cannot be used for:

- Realtime-dependent signals

- VST instruments with more than one MIDI source

- External effects and instruments

- Plug-ins that have a different bit version than Cubase

If you activate the monitoring for an input channel, the audio channel is automatically

switched from ASIO-Guard to realtime processing and vice versa. This results in a

gentle fade out and fade in of the audio channel.

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